The irony implied by Junk after the curtain goes down is the realization that white collar crime does pay.
Two works by one of the most-in-demand choreographers of our time received powerhouse performances from the New York City Ballet.
Sweat and Indecent serve as forceful reminders that art matters — as if proof was needed.
Few companies can do pageantry quite like ABT, buoyed by its vast resources as well as on this occasion the company’s desire to celebrate its 75th anniversary with panache.
Today’s Broadway is at its best presenting blockbuster spectacles like Wolf Hall and An American in Paris.
Don’t miss the “joyous shout and ringing cheer” of this delightfully boisterous version of The Mikado.
The Sarasota Ballet will make its New England debut at Jacob’s Pillow in August with a program that includes two works of mid-20th century choreographer Sir Frederick Ashton.
Brooke Adams portrays Winnie as the ultimate smiley face; her husband, Tony Shalhoub, is little more than another prop weathering her on-going babble.
An evening with Pilobolus is among the most viewer-friendly of dance experiences.
Incomparable opera diva Renée Fleming makes her debut as a stage actress — playing an impossible opera diva — in playwright Joe DiPietro’s sliver of a comedy Living on Love.